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Frankie Rose

As suggested by its sleek op-art sleeve and future-shocked title, Interstellar, Rose’s next album is as welcome as departures get: an icy blend of buffered beats, cascading chords and steely synths. Don’t expect an electro album, however, more like what happens when an indie rock vet spends an extended period of time alongside a proper producer – Fischerspooner collaborator Le Chev.

In other words, if Rose wanted synth lines pulled from the same Kraut-y cosmos as Vangelis and Klaus Schulze, a soundtrack-y slice of Enya or a bass line to sound like the Cure’s Seventeen Seconds, it wasn’t a question of “How?” so much as “When do you want to get started?”

Here’s the deal then: aside from a fall tour with Dirty Beaches, Rose plans on putting 12-hour days in at the studio until her widescreen opus is completed for an early 2012 release.

“Often this album is the scene in the film when the main character is reunited with his lost love, or perhaps like a visit to another planet,“ explains Rose. “I want every song to be like some kind of pop song cinematic adventure.”